Lee Sullivan
Author of Rivers of London, Vol. 1: Body Work
About the Author
Image credit: Lee Sullivan
Series
Works by Lee Sullivan
Transformers 214: Guess Who the Mecannibals Are Having for Dinner? part two / The Fall and Rise of the Decepticon… (1989) — Illustrator — 1 copy, 1 review
Transformers 238: Survival Run / The Interplanetary Wrestling Championship! (part three) (1989) — Illustrator — 1 copy, 1 review
Transformers 213: Guess Who the Mecannibals Are Having for Dinner? part one / The Fall and Rise of the Decepticon… (1989) — Illustrator — 1 copy, 1 review
Transformers 204: Time Wars (part six: When All have Fallen...) (1989) — Illustrator — 1 copy, 1 review
The Transformers 187: Space Pirates! (part six: The End of the World!) (1988) — Illustrator — 1 copy, 1 review
The Transformers 186: Space Pirates! (part five: The Awakening!) (1988) — Illustrator — 1 copy, 1 review
Associated Works
Transformers 200: Time Wars (part two: The Ravages of Time!) (1989) — Cover artist — 1 copy, 1 review
Transformers 218: Recipe for Disaster! part two / Race With The Devil (part four) (1989) — Cover artist — 1 copy, 1 review
Transformers 236: Deathbringer part two / The Interplanetary Wrestling Championship! (part one) (1989) — Cover artist — 1 copy, 1 review
The Transformers 141: Child's Play part one / Love and Steel! (part four) (1987) — Cover artist — 1 copy, 1 review
The Transformers 131: Worlds Apart! (part two: Scorponok's Sting!) / Ring of Hate! (part two) (1987) — Cover artist — 1 copy, 1 review
The Transformers 134: Headhunt part two / Broken Glass! (part one) (1987) — Cover artist — 1 copy, 1 review
The Transformers 137: Ladies Night part one / Broken Glass! (part four) (1987) — Cover artist — 1 copy, 1 review
The Transformers 140: Used Autobots part two / Love and Steel! (part three) (1987) — Cover artist — 1 copy, 1 review
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Reviews
Rivers Of London Vol. 04: Detective Stories by Ben Aaronovitch
So far my least favorite volume. It the detective having an interview and telling all kinds of stories that happened in the past. They were okay stories, they didn't really grab me or hold my attention like the other volumes. Art was wonderful as usual. Hopefully the next volume is better.
Access a version of the below that includes illustrations on my blog.
It's DWM's longest story! By issue count, at least; I think The Glorious Dead still has it beat out by approximately ten pages. Picking up from the end of The Power of the Doctor, this leads right into Destination: Skaro... though I am unconvinced that its events really could squeeze into the sixty minutes the Doctor states have passed between the two stories in Destination: Skaro. I am pretty sure it took me longer than sixty minutes to read it!
It's a bit bonkers, and it's not very deep, but it is fun. One of Alan Barnes's strengths as a writer has always been rearranging pop culture iconography in interesting ways: here the Daleks attack the World Cup Final in 1966, only it turns out that it's all a simulation from the future, an amusement park where people go to experience Dalek wars... and the park enslaves real Daleks to make it all work. When the Doctor escapes from the simulation, he brings real Daleks with him.
It's not very deep, but it is deep enough; the story does some fun stuff with the disjunction between how we perceive Daleks as viewers (fun, goofy) and how they function in the narrative of Doctor Who (purveyors of genocide); probably the best of the many strong cliffhangers is the one where a bunch of tourists began chanting "EXTERMINATE," hoping to be exterminated! As you would, of course. It casts a lens on Doctor Who's own story, but also reflects the way that, say, Nazis come across in real pop culture. Alan Barnes amps it up as the story proceeds by even bringing in the TV Century 21 Daleks, contrasting their even more goofy iconography with the brutality of the "actual" Daleks.
It does give a feeling of being made up as it went along. Mostly I don't mind this (so does, say, the original Star Beast) but it does seem like the whole story could have ended with part eight but keeps going with a whole new subplot.
Lee Sullivan does a great job with Daleks of course, but all throughout; he captures new series Daleks, classic series Daleks, TV21 Daleks, all of them. James Offredi matches him on coloring with some good work, especially on the TV21 stuff.
If you thought this would be a deep plunge into the mysteries of the fourteenth Doctor (and I can see why you might have, though the story itself discards this pretty quickly), this isn't it. But it is a solid piece of DWM fun.
Other Notes:
It's DWM's longest story! By issue count, at least; I think The Glorious Dead still has it beat out by approximately ten pages. Picking up from the end of The Power of the Doctor, this leads right into Destination: Skaro... though I am unconvinced that its events really could squeeze into the sixty minutes the Doctor states have passed between the two stories in Destination: Skaro. I am pretty sure it took me longer than sixty minutes to read it!
It's a bit bonkers, and it's not very deep, but it is fun. One of Alan Barnes's strengths as a writer has always been rearranging pop culture iconography in interesting ways: here the Daleks attack the World Cup Final in 1966, only it turns out that it's all a simulation from the future, an amusement park where people go to experience Dalek wars... and the park enslaves real Daleks to make it all work. When the Doctor escapes from the simulation, he brings real Daleks with him.
It's not very deep, but it is deep enough; the story does some fun stuff with the disjunction between how we perceive Daleks as viewers (fun, goofy) and how they function in the narrative of Doctor Who (purveyors of genocide); probably the best of the many strong cliffhangers is the one where a bunch of tourists began chanting "EXTERMINATE," hoping to be exterminated! As you would, of course. It casts a lens on Doctor Who's own story, but also reflects the way that, say, Nazis come across in real pop culture. Alan Barnes amps it up as the story proceeds by even bringing in the TV Century 21 Daleks, contrasting their even more goofy iconography with the brutality of the "actual" Daleks.
It does give a feeling of being made up as it went along. Mostly I don't mind this (so does, say, the original Star Beast) but it does seem like the whole story could have ended with part eight but keeps going with a whole new subplot.
Lee Sullivan does a great job with Daleks of course, but all throughout; he captures new series Daleks, classic series Daleks, TV21 Daleks, all of them. James Offredi matches him on coloring with some good work, especially on the TV21 stuff.
If you thought this would be a deep plunge into the mysteries of the fourteenth Doctor (and I can see why you might have, though the story itself discards this pretty quickly), this isn't it. But it is a solid piece of DWM fun.
Other Notes:
- For those of us who keep track of such things, these fourteen strips tie Alan Barnes for the twelfth-longest run as writer of the DWM strip with Steve Parkhouse (#86-99), and tie Lee Sullivan for seventh as artist with David A Roach (#451-64). For total written, it moves Barnes from fifth to third (at 41 strips, a bit below Steve Parkhouse's total of 46), and Lee Sullivan from eighth to seventh (at 44 strips). But I believe there's more to come after this for both, so their numbers will move even further up.
- This is Barnes's first contribution to the main strip since #380, a gap of 204 strips! This would place him in second for largest gap (if we discount the returns for issue #500), behind John Tomlinson's record of 210... except that Lee Sullivan makes his first contribution since #317, setting a new record of 267!
- I'm given to understand that the conceit of TV Century 21 was that it was a news magazine from one century after its time of publication. Because of that, the humorless pedants of the Tardis wiki have counted all sorts of weird stuff as "valid" because it was printed in TV21 alongside the Dalek strips. Like, they'll count Thunderbirds... but (up until recently) not Scream of the Shalka or Death Comes to Time!? Anyway, if they are paying attention to Liberation, they need to take all that stuff back out, because Barnes establishes the TV21 comic strips are an in-universe 21st-century children's fiction.
I don't think the comics are as good as the novels.
It was hard to follow who was manipulating who.
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